"Where's jazz going? I don't know. Maybe it's going to hell. You can't make anything go anywhere. It just happens." -Thelonious Monk
There's no timetable for innovation, no roadmap for revolution. In the field of jazz, often starved for funds and recognition, this proves to be doubly true. Organizations are set up just to keep the genre alive, to foster the attitude that a life in jazz is worth living every day, so when the next big thing actually rears its head, someone's there to catch it.
One of the organizations that works toward this end is the Thelonious Monk Institute of Jazz, one of the world's leading foundations for educating and rewarding up-and-coming jazz musicians, with offices in D.C. and Los Angeles. On Sunday and Monday, the Monk Institute held the semifinal and final rounds for its International Jazz Competition - this year focused on vocals.
"This is only our third vocalist competition," said Institute president Tom Carter. "Originally it was just a piano competition but we ended up getting same slate of competitors year after year. Other musicians started to want to gain the notoriety that the competition affords."
Being a finalist in the Monk Institute's competition has worked out nicely for its participants in previous years. The three finalists from the last vocal competition in 1998 - Jane Monheit, Tierney Sutton and Terri Thornton - have already sold one million albums combined, no easy feat in the jazz world.
Those chosen for the semifinals seemed like they were eager to match or exceed this legacy.
"There probably wasn't another time when I wanted to be anything else but a jazz singer," said semifinalist Rachel Price of Australia. "It'll be interesting to see the new breed of talent that'll come out of this competition."
Robin McKelle, another semifinalist, echoed this enthusiasm.
"I'm really excited to do this," said McKelle, 28, of West Newton, Mass. "I'm just excited to be chosen, and I'm looking forward toward the weekend and working with all these great performers."
On Sunday, the buzz coming from the jazz enthusiasts filing into the Baird Auditorium at the Museum of Natural History for the semifinal round was close to spine tingling.
Those selected by the Institute to serve as judges represented perhaps the finest assembly of jazz singers alive. The institute's co-founder, Thelonious Monk Jr., introduced Dee Dee Bridgewater, Al Jarreau, Kurt Elling, Flora Purim and the legendary Jimmy Scott, one by one. The 13 performers came out and showed a wide range of stage charisma and diversity in style. Each had been given the opportunity to perform three of their own selections. Actor Billy Dee Williams presided as master of ceremonies, introducing the first seven competitors. He would later hand the reigns over to iconic jazz pianist Herbie Hancock to introduce the final eight.
The semifinalists more than lived up to the competition's reputation. Each came on stage with a lifetime of experience and a unique vision of where jazz had been and where it might end up in their generation.
After performing, semifinalist Mari Anne Jayme, donned in a colorful striped blouse accentuated by red streaks in her hair, described her own song selection, which concluded with an intriguing Latin interpretation of "What a Wonderful World."
"I knew I wanted to represent a few different styles and I wrote my arrangements based on what sounded good and what songs I just felt one with," she said.
Jose James, one of only two male vocalists who made it to the semi-finals, radiated charisma in his dark blue corduroy, stout suit lapels and his war cry to "Support Jazz!" after paying tribute to his hero Joe Williams.
"I yelled 'support jazz' because jazz really does need everyone's help," James said after his set. "Jazz has been such a political and social [tool] in this past, like in Louis Armstrong's State Department tours across the world. All of these competitors deserve contracts because there's no retirement in jazz, no benefits. Right now, it's just languishing."
In the end, the choice rendered by the judges was a shocking one. Four - not three - finalists were to be chosen to perform in the finals to take place at the Kennedy Center Monday.
Those chosen were Gretchen Parlato, whose scatting set even the great Herbie Hancock aback, Kellylee Evans, a tall slinky Toronto native who cracked wise with the audience, Robin McKelle for her deep sultry bass that brought up memories of Big Momma Thornton, and Charenee Wade with her effortless grace.
"We heard 13 very wonderful vocalists today," said judge and Grammy-winning vocalist Dee Dee Bridgewater. "Our choices as judges showed the diverse and complex nature of the music in front of us. Even though we only chose four, they are all winners."
Kurt Elling had a more philosophical take on his own role as judge.
"Judging was really hard work this year," Elling said. "We had to judge on two or three qualifications. Some of these people had a really good instrument but no jazz, or sometimes they had that jazz but not the power. That makes it a challenge."
The next night, the Eisenhower Theater at the Kennedy center played host to jazz and political royalty. The judges had added to their ranks legendary producer and performer Quincy Jones, who sat just behind Dr. Billy Taylor, the Kennedy Center's jazz artistic adviser and a legend in his own right. After the finalists performed two songs apiece, Sen. Orrin Hatch (R-Utah) was honored by the Monk Institute for his lifetime of service toward funding and supporting the arts.
Then came the highlight of the night - the judges and huge guests from the jazz world paid tribute to great moments in jazz singing. After a soulful piano solo by Hancock, Bridgewater took the stage to perform a tribute to Sarah Vaughan with "God Bless the Child," with Jimmy Heath flanking her on alto sax.
The most moving part of the night came next with 79-year-old Jimmy Scott sitting on the stage and breaking the audience's heart with his own masterpiece "Motherless Child." He received the only standing ovation of the night.
Jazz innovator Wayne Shorter and pioneer Clark Terry were later added to the mix when Al Jarreau and Flora Purim performed a few salsa renditions that got the place jumping. The final tribute went out to Jon Hendricks, with Jarreau and Elling performing the Miles Davis classic "Freddy Freeloader" with Shorter and Blanchard, all four trying to outplay each other in a fabulous competition of voice versus instrument.
The winner of the competition at the end of the night was Parlato, who will receive not only a $20,000 scholarship, but a spot in the 2005-2006 Kennedy Center season. Evans took second place and $10,000, McKelle ended up third with $5,000 and Wade rounded out the bunch at fourth with $2,500.
The final image at the end of the competition was inspiring enough to warm the heart of even the most hardcore cynic. The finalists, all future leaders of jazz, took the stage with current masters - including special guest trumpeter Jon Faddis - to a rendition of Monk's master work "In Walked Bud."
Listening to the past, present and future of jazz on stage at the same time, one has to reflect on Monk's aforementioned quotation. Just where exactly will jazz go with the starting 13 semifinalists, the final four and countless others leading the pack into uncertain future? If it might go to hell, like Monk posits, we should start lining up for eternal damnation.
